Frage von Hansa:
Hello,
I want the mask function with an object from a clip cut (a person that moves). This would then cut to another clip to be integrated so that the person then runs through the picture. This movement, however, must be pursued so that the person is not from the mask disappears. You need probably a "Motion Trackers". Where can I find such a program, preferably German, but not CHV. A freeware would be good.
The configuration: FCS 6.0.5, MacPro 3.2 GHz / 10 GB RAM
MfG Sukili
Antwort von Axel:
A Tracker is not meant to animate a mask, which is organically s.die flowing outlines of a person walking hugs. This is probably a misunderstanding.
At FCS heard yes Motion. Put the clip with the person in the FC timeline on the new background, select and
send out both by right-clicking
s.Motion. Motion has a tracker synonymous, but as I said he uses thee nothing.
What you see now in motion, is a representation as in Photoshop, with two levels. You have to be the person with the mask tool from the tool bar at the top crop (equivalent to a path in PS). Take s.besten several masks. For example, one for the fuselage, and a new body for temporarily protruding parts: Each new mask will appear as "trace" in the motion timeline and can be done by moving the start and end points are time limited. Change the mask shapes by moving the "paint-by-numbers" points frame by frame when the record ( "Record" - button). It is best to be nesting, ie at first only five seconds every second to make a change (ie - the "Recording" automated - to keyframe) and to rest anzugucken ( "Play"), how well or poorly Motion interpolate the missing phases, so that at long last, you only need to adapt and improve, where it hooks (Manual also:> masks restrict> expand> soft edge mask). The end of the color correction of at least one of the layers to make them color s.die other law.
A time-consuming matter, sure. See it as a game and challenge to work more efficiently. Now I need maybe one hour for five seconds, initially rather four, and there are cracks that you think in a five-minute tutorial hinrotzen.
Ach so: If you have Final Cut Pro in parallel had opened, your timeline is now red for "not rendered". Render ready.
Antwort von Hansa:
Hello Axel,
I thank you very much for the very detailed instructions. I will try.
MfG Sukili
Antwort von Hansa:
Hello Axel,
Now I have tried. Unfortunately it does not. For me, the mask and the indemnified person is a "life of its own", ie the screen moves in accordance with the direction of motion, but the person who is so moved, runs from the mask.
It should however be the case that the mask s.die moving person is bound to make the environment from the previous clip from which the person comes from, no longer visible, but only the person moving.
What am I doing wrong?
MfG Sukilin
Antwort von Hansa:
Addendum:
The mask must be s.die person bound her and follow.
Antwort von Axel:
The masks in Motion are not festgenagelt. Example: The person of runs left to right through the picture. You draw a mask over the head and trunk, usually s.wenigsten rumzappeln, in the first frame of the clip, far left. Then you draw
the mask shape itself into the position of the person in the last frame on the right hand side. How? By hand, with the normal tool, moving the cursor.
Since you have to "Recording" button, you calculated a uniform motion of movement left to right. Click on "Play", you see how the mask of the person follows. It will not be perfect, because you are not completely evenly vorbeischwebt. It has been proven beneficial, not Picture Picture for action, but the distances are halved. Navigate So s.den point / frame, if the person in the center and is moving (with record) then the mask. The motion is due to the new data re-calculated, the animation is now twice as accurate. Etc., etc., until the accuracy you satisfied.
Next is a mask for the right leg, which you can copy the same, then you will have the synonymous for the left. Mach masks just in time, ie when a hand appears briefly, only the hand for a few frames mask. Dear ten screens with a simple outline with complicated shapes.
All masks can move, zoom, zoom, rotate, tilt and with filters, like other objects. That is what is at stake:
animating masks, they call it synonymous Rotoskopieren.
There are on this procedure, only two alternatives, both having to do with keying:
1. The person in front of a green or blue background record> Green or Blue Screen.
2. The Differenzkey from After Effects (Motion it has not): You take the one without the background on the person, the program calculates the differences, ie the isolated person. Does not work very well.
If you are in longer scenes people have to make, you should be the first option try. Is really - especially with Motion - amazingly simple. But
no animated masks come synonymous a good Chromakeying not enough. For compositing masks are the main tool. It's worth it really, s.Ball to stay, because masks with practically anything you can combine.
Antwort von Hansa:
Hello Axel,
Your descriptions are very good. So I will try again today s.Abend. Thank you, first. I reported then.
MfG Sukili
Antwort von Hansa:
Hello Axel,
I just tried and it works now. However, it is obviously a tedious business if the whole thing to be really clean. First of all, I still have the issue where a function in Motion "Soft mask edge" (as in Final Cut Pro) is located. I have not yet found. If the mask does not quite fit, I could with this function to blur the edges.
The possibilities with the different filters in Motion and applications are very diverse. Thus, I can in my upcoming film some use. However, I Blue / Green Screen synonymous use, especially since I've already had good results. So I will combine both options. But to me, I must with motion even closer look. In my film story I will use these opportunities.
First, many thanks for your hints and maybe you could me the discovery of the soft edge mask call.
MfG Sukili
Antwort von Axel:
First of all, I still have the issue where a function in Motion "Soft mask edge" (as in Final Cut Pro) is located. I have not yet found. If the mask does not quite fit, I could with this function to blur the edges. Absolutely. The more precise you work, the worse the result will ;-))) You could say
the time blurs all tracks, in contrast to the "eternal" Still Image. Now I would like to tell you where the "soft edge mask" is, but I can not. I am a few days at home. Perhaps it is different, edges soft signs, anything. I even believe it belongs to the information window of the mask in the "HUD" (shortcut to obtain a mega practical matter, this HUD, just under> windows> after HUD toggle shortcuts look at the HUD is only valid for the respective activated level, mask, or form). Tell me know if you found it's.
Only one thing still: The German Motion Manual replaces any book really. One should not make something so simple, without many of the functions of the window to know which is never all be seen, already, because they do not fit monitor. I advise you, therefore, at least the evidence. Rotoscoping is, I believe almost forty pages to explain.
Another tip: If you are using Motion Final Cut Pro open, you will be asked whether a file Motion secure. Say yes. Then press in between times on apple + S, the program is not the most stable.
Antwort von Hansa:
Hi Axel.
it's fun. Your Answers relating to read, because the precise and to the "point" come.
I will therefore once again look at the Schwevbepalette. Incidentally, your reference with the "eternal" Still Image is synonymous very true - the film film.
MfG Sukili
Antwort von Hansa:
Hello Axel,
I just tried again and the following findings:
The blur of the mask edge is not limited to the simple blurring of the boundary. Rather, there is motion in a wide range of possibilities. Since the synonymous to mask the actual effect is the "blur" with all its variants applied. This way you can mask the synonymous edge beautifully and affect the outcome substantially. The possibilities are therefore much higher than in Final Cut Pro. In the mask Schwebepaltte is synonymous nor the "leakage", but the margin only increased, not so good effect.
To achieve a good result to get the various blur options to combine.
With that in short intervals / location changes, quickly and briefly
moving objects or persons, the application of Masks A Fummel work, so I initially Bluebox (Blue Screen) will use. I hope to create ghosts and apparitions
(The actress is understood harassed / followed) in order to better realize.
MfG Sukil
Antwort von Axel:
With that in short intervals / location changes, quickly and briefly
moving objects or persons, the application of Masks A Fummel work, so I initially Bluebox (Blue Screen) will use. I hope to create ghosts and apparitions
(The actress is understood harassed / followed) in order to better realize. That will surely succeed. The most important option, Blue / Green Screen when recording to optimize is the avoidance of contours spill. The colorful cloth should be in as far to the person and these should be separately illuminated. If the Badehandtuch times is too short or not wide enough, are you doing the rest stop with sloppy masks away, a children's game after the ordeal with the Roto. A completely bildfüllender green background multiplies the risk of spill reflektionsbedingtem, flapsigen the words "rag" is a question despite a minimum Keyingfläche later in combination with the simple motive indemnify Parts masks applied the best way. If the actor has blue eyes, just a big blob mask over it, with the "Move" ruckzuck the mask is animated. Good luck.
Antwort von Hansa:
Hello Axel,
in my garage I have a 3x4 large cyclorama (blue Molton because of very low reflectivity), which stands there permanently. The cyclorama is with HMI illuminates the actors and moves in 3.5 m distance. He is certainly correct separately illuminated.
That has always worked well with my previous blue screen applications only with Final Cut Pro did. In Motion, there is now the Blue / Green Screen Application RT, which should be much better. Moreover, I had previously only DV and now I have HD, because I hope for even better results.
MfG Sukli
Antwort von Hansa:
Addendum: the note with the "rag" is synonymous good. in my project, the actress synonymous times in the forest and there is synonymous with the encounters have Quälgeistern. In this case I will be small blue cloth s.Bäumen mount what the ghosts appear -
MfG Sukli
Antwort von Axel:
... I have a 3x4 large cyclorama (blue Molton because of very low reflectivity), which stands there permanently. The cyclorama is with HMI illuminates the actors and moves in 3.5 m distance. He is certainly correct separately illuminated. Because I think with tips relating to bluebox better and back ;-))), grüße neid met.
Antwort von Hansa:
Hello Axel,
thank you again, if I once again have ne question, do I sign up.
MfG Sukili
Antwort von Britta Leuchner:
Ach so: If you have Final Cut Pro in parallel had opened, your timeline is now red for "not rendered". Render ready. Here are some interesting questions, which are not only interested me:
1. Problem: Axel, it seems with the cooperation between Motion and Final Cut Pro I can not quite work. Is there known problems when both programs were closed in between?
2. Rendering is yes, a new movie in the render folder. If the compression of the Final Cut Pro timeline or of Motion? Is this loss? (see discussion on Final Cut Pro export quicktime with or without conversion). It is important to know the place s.welcher Motion s.verlustfreiesten step is ...
3. Dreißte Another question: is there a way of tracking Paths to export, eg between Motion and Shake to use? After some tracking, and their corrections can sometimes 2 days to complete, when track points or blurred images passing objects with the well-known tricks about-Tracked be ...
Maybe you or someone else so a few more experiences than I do. Lieben Thanks in advance
Antwort von Axel:
1. Problem: Axel, it seems with the cooperation between Motion and Final Cut Pro I can not quite work. Is there known problems when both programs were closed in between? Since there is no performance difference seems to do when both synonymous and yet Compressor is on, I see no reason I should include a program. There should be a placeholder in the Final Cut Pro timeline is, with the name of the Motion project, after rendering is okay. The export from Final Cut Pro timeline, I have only called for a quick introduction Hansaallee possible. Actually, I see this as a standalone program and im-and export in ProRes prefer.
2. Rendering is yes, a new movie in the render folder. If the compression of the Final Cut Pro timeline or of Motion? Is this loss? (see discussion on Final Cut Pro export quicktime with or without conversion). It is important to know the place s.welcher Motion s.verlustfreiesten step is ... Since the fighting spirits. It remains the same codec, so synonymous have the same quality (as synonymous with Compressor). For me there's no doubt that they also may suffer ProRes longer than eg HDV.
3. Dreißte Another question: is there a way of tracking Paths to export, eg between Motion and Shake to use? After some tracking, and their corrections can sometimes 2 days to complete, when track points or blurred images passing objects with the well-known tricks about-Tracked be ... This I find nothing. You have to be programmers themselves, and not a consumer-user. I've heard, motion was actually the Mickey Mouse version of Shake, the same substructure, only once with hattu-muttu surface and once as a blueprint for Deep Blue. Because I must adjust.
Antwort von Britta Leuchner:
Thank you again for your detailed posts. I think here I was still useful to add:
The placeholder with the default option is set in the transfer of sequences s.Shake. In Motion does not. So unless I make a sequence from the browser s.Motion over. This option is in motion only available if an object from the timeline directly is passed. This is a trickige case, and if we are not careful and it is used sequences from the browser s.Color or shake to give you the end is in motion with the finished part as edited, will back to Final Cut Pro, and notes that it does not and dare not use it to export, because it is perhaps not the last step was planned and is on the head multiple recompression shatters ... ;)
So it is delivered to me at least, so I thought it might be helpful to be here. ALSO: If you want back, just about Timeline Motion!
Axel, thanks for your detailed help. You're enormously active as I can see everywhere here.
Happy Easter days, until later ...
